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All Journal Jurnal Dunia Pendidikan Jurnal Pengabdian Masyarakat Indonesia (JPMI) Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM) Jurnal Pengabdian Masyarakat dan Riset Pendidikan Filosofi: Publikasi Ilmu Komunikasi, Desain, Seni Budaya Misterius: Publikasi Ilmu Seni dan Desain Komunikasi Visual Realisasi: Ilmu Pendidikan, Seni Rupa dan Desain Abstrak: Jurnal Kajian Ilmu Seni, Media dan Desain Imajinasi: Jurnal Ilmu Pengetahuan, Seni, dan Teknologi Ekspresi: Publikasi Kegiatan Pengabdian Indonesia
Dani Manesah
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Religion Arts Humanities Education Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Mathematics Social Sciences Other

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Skenario Film “Genius dari Syurga”: Peran Ayah dalam Pengembangan Anak Autisme melalui Struktur Tiga Babak Nabilla Afiya Rizka; Dani Manesah
Filosofi : Publikasi Ilmu Komunikasi, Desain, Seni Budaya Vol. 1 No. 1 (2024): Februari : Filosofi : Publikasi Ilmu Komunikasi, Desain, Seni Budaya
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/filosofi.v1i1.42

Abstract

This article discusses the method of creating the screenplay for the film "Genius from Heaven," highlighting the role of fathers in the development of children with autism through a three-act structure. The creation method involves preparation, elaboration, synthesis, realization, and conclusion stages. The author conducts research, selects references from related films, and applies ideas with a three-act structure. The concept of creating this work includes the use of the dynamic character method and a three-act structure to build conflict and climax in the story. Analysis shows how the pressure from the father, changes in the behavior of the main character, Dino, and the father's awareness of his child's talent influence the dramatic dimension of the film. Technically, this article discusses the pre-production, production, and post-production stages, as well as production design, including work identity, film format, duration, language, and film goals. This film aims to provide insight to the public on educating children with special needs and demonstrates that behind someone's shortcomings, there are certainly strengths or unique talents.
ANALISIS MODEL BUDAYA PADA FILM DOKUMENTER KAMPOENG KUNYIT SUTRADARA DWI CHITA SUCI MELALUI MISE EN SCENE Dani Manesah; Aji Purnomo
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 1 No. 2 (2022): Oktober : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (662.151 KB) | DOI: 10.55606/jurrsendem.v1i2.369

Abstract

Judul penelitian ini adalah Analisis Model Budaya Pada Film Dokumenter Kampoeng Kunyit Sutradara Dwi Chita Suci. Film adalah suatu bentuk seni yang mengandung informasi dan hiburan Ini berisi representasi atau makna dari apa yang ditampilkan. Penelitian ini bertujuan untuk merepresentasikan atau memaknai budaya lokal Melayu yang terdapat pada film Kampoeng Kunyit melalui mise en scene yang menampilkan budaya Melayu. Jenis pendekatan penelitian yang penulis gunakan dalam penelitian ini adalah metode kualitatif dan menggunakan analisis isi berdasarkan model budaya Edgar H. Schein. Edgar H. Schein membagi model budaya ini menjadi dua kategori, seperti Budaya Benda dan budaya bukanlah benda. Sementara hasil penelitian ini menunjukkan adanya bahwa pada film documenter Kampong Kunyit Sutradara Dwi Chita Suci ditemukan adanya representasi dua tanda kebudayaan antara lain: (a) budaya dan seni (b) bahasa (c) kekayaan budaya yang terdiri dari makanan Minuman lokal (papeda dan sopi) dan budaya tak berwujud, yaitu: (a)kepercayaan/ritual tradisional (b) hubungan pribadi.
Penerapan Namun pada Film Layangan Putus Karya Benni Setiawan Desi Ariyani S; Dani Manesah
Misterius : Publikasi Ilmu Seni dan Desain Komunikasi Visual. Vol. 2 No. 1 (2025): Maret : Misterius : Publikasi Ilmu Seni dan Desain Komunikasi Visual
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/misterius.v2i1.524

Abstract

Literature is the result of the human creative and imaginative process which contains various values ​​and life lessons. Namun, as an important element in literary works, describes the struggle within a character that arises as a result of the conflict between desires, beliefs and hopes. In literary works that are adapted into films, namun not only plays a role in building character, but also drives the storyline emotionally. The film Kite Putus, which is adapted from the novel by Mommy ASF, depicts the emotional journey of Kinan, a woman who faces the infidelity of her husband, Aris. The namun experienced by Kinan is the main focus in the narrative, where he has to choose between maintaining the household for the sake of his child or letting go of the relationship that has hurt his self-esteem. The aim of creating this film script is to explore how namun can be applied effectively in character and story development. The author focuses on processing Kinan's namun through internal monologues and interactions with other characters, as well as utilizing cinematic elements to strengthen the emotional dimension of the film. With this approach, it is hoped that the film Kite Putus will be able to provide an in-depth experience for the audience, as well as representing universal issues in everyday life.
Analisis Pencahayaan 3 Point Lighting pada Film Autobiography Sutradara Makbul Mubarak M. Fajar Aditya; Dani Manesah
Misterius : Publikasi Ilmu Seni dan Desain Komunikasi Visual. Vol. 2 No. 1 (2025): Maret : Misterius : Publikasi Ilmu Seni dan Desain Komunikasi Visual
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/misterius.v2i1.525

Abstract

Lighting plays a crucial role in film production, not only providing illumination for subjects but also creating atmosphere, conveying emotions, and supporting the narrative. This study analyzes the application of the 3 Point Lighting technique (Key Light, Fill Light, Back Light) in the film Autobiography directed by Makbul Mubarak. Using a qualitative approach and descriptive method, this research explores how lighting highlights the emotions of the main character, Rakib, and creates visuals that enhance the storyline. The results show that the 3 Point Lighting technique effectively conveys dramatic moods, such as confusion, sadness, and emptiness, experienced by the main character. This technique not only strengthens character development but also delivers an immersive visual experience for the audience. This study aims to provide insights for filmmakers in utilizing lighting as an aesthetic and effective visual communication tool.
Analisis Film “Penyalin Cahaya” dalam Membangun Suspense dengan Teknik Handheld Ruhi Annyza Khanum Haris; Dani Manesah
Misterius : Publikasi Ilmu Seni dan Desain Komunikasi Visual. Vol. 2 No. 1 (2025): Maret : Misterius : Publikasi Ilmu Seni dan Desain Komunikasi Visual
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/misterius.v2i1.534

Abstract

An Analysis of the Film "Penyalin Cahaya" in Building Suspense Through Handheld Techniques, focusing on how this technique influences audience perception, enhances emotions, and builds the story's atmosphere through camera movements that follow the characters' perspectives. Using a qualitative approach, this study analyzes several scenes that utilize handheld techniques to create suspense in "Penyalin Cahaya." The use of handheld techniques to build suspense serves as a foundation for understanding how these techniques provide a unique dynamic through camera movements that enhance realism and tension in the scenes. This study aims to explore how, in "Penyalin Cahaya," handheld techniques are effectively used to portray the complexity of characters' emotions and create an immersive visual experience, thereby increasing audience engagement and strengthening the film's narrative. The results show that "Penyalin Cahaya" successfully creates an immersive suspenseful atmosphere through realistic and emotional handheld techniques, intensifying psychological tension and establishing an intimate connection with the audience.
Eksplorasi Karakter Melalui Pendekatan Visual Storytelling pada Film Pengabdi Setan Karya Joko Anwar Qiyaadah Zahra; Dani Manesah
Misterius : Publikasi Ilmu Seni dan Desain Komunikasi Visual. Vol. 2 No. 1 (2025): Maret : Misterius : Publikasi Ilmu Seni dan Desain Komunikasi Visual
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/misterius.v2i1.535

Abstract

Film is an audio-visual media consisting of pieces of images put together, and has the ability to capture social and cultural reality, of course films are able to convey the messages contained therein (Alfathoni & Mahesah, 2020:2). The film Pengabdi Satan by Joko Anwar is a remake of the classic Indonesian film with the same title, which was released in 1980. The story centers on the Suwono family who live in an old and remote house. This family consists of Rini, mother, father, and Rini's younger brothers—Tony, Bondi, and Ian. One of the important elements that makes films have this impact is the visual storytelling technique which allows the audience to grasp the emotional and symbolic meaning of the story intuitively, without having to rely on words. The film Pengabdi Satan is a strong example of the use of visual storytelling and character exploration as the main elements in building a horror atmosphere and driving the narrative. In this film, visual storytelling is the main tool to create atmosphere and build tension slowly. Joko Anwar utilizes spatial layout, lighting and image composition to convey the sense of isolation, fear and helplessness experienced by the characters.
Teknik Color Grading untuk Memperkuat Nuansa Horor pada Film Lights out Nurul A’ini; Dani Manesah
Misterius : Publikasi Ilmu Seni dan Desain Komunikasi Visual. Vol. 2 No. 1 (2025): Maret : Misterius : Publikasi Ilmu Seni dan Desain Komunikasi Visual
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/misterius.v2i1.536

Abstract

This study explores the application of color grading techniques to enhance the horror atmosphere in the film Lights out. In the horror genre, creating a tense atmosphere heavily relies on visual elements, including the use of color and lighting. By manipulating these elements, films can heighten the emotional intensity experienced by the audience. This research employs visual analysis and in-depth interviews with industry practitioners to identify specific color grading techniques used in Lights out. The findings reveal that a combination of certain color palettes, low lighting, and sharp contrasts play a crucial role in creating an effective eerie atmosphere.
Penerapan Continuity Editing dalam Film Kingsman Karya Metthew Vaughu Muhammad Fauzan Abdillah; Dani Manesah
Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain Vol. 2 No. 1 (2025): Januari : Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/realisasi.v2i1.526

Abstract

The film Kingsman: The Secret Service (2014), directed by Matthew Vaughn, blends various cinematic elements that create a captivating visual experience. One of the key aspects supporting the quality of this film is the effective use of continuity editing techniques. This study adopts a qualitative approach with a literature review method to explore the application of editing techniques in strengthening narrative and character development, as well as enhancing the emotional engagement of the audience. The findings reveal that continuity editing not only maintains visual and spatial continuity in action scenes but also supports the development of the main character, Eggsy, from an ordinary young man to a skilled secret agent. This editing technique plays a crucial role in building tension and immersion, allowing the audience to follow the story clearly without being distracted by camera angle changes or other editing techniques. Overall, the application of continuity editing in Kingsman proves to be effective in creating a cinematic experience that harmoniously integrates action, narrative, and emotion.
Analisis Teknik Camera Shot pada Film Surat Cinta untuk Starla Sutradara Rudi Aryanto M Hendy Farrell M; Dani Manesah
Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain Vol. 2 No. 1 (2025): Januari : Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/realisasi.v2i1.527

Abstract

The film Surat Cinta Untuk Starla, directed by Rudi Aryanto, employs a variety of camera shot techniques to explore the depth of its main characters and deliver powerful emotions to the audience. This study aims to analyze the use of camera shot techniques in the film, focusing on close-ups, medium shots, long shots, and tracking shots. These techniques are utilized to portray the characters' emotional expressions, interactions, and to enhance the theme of emotional journeys within the story. Through a qualitative approach with a literature review, the research highlights how camera shot techniques support the film's narrative and deepen the emotional connection between the audience and the characters. The analysis reveals that the appropriate choice of camera shot techniques can elevate the film's visual and emotional quality, creating a profound impact on the understanding of its story and characters.
Penerapan Plot Linear terhadap Perkembangan Cerita dalam Film Dua Hati Biru Karya Sutradara Gina S. Noer Jenny Fransiska; Dani Manesah
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 2 No. 1 (2025): Januari : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v2i1.528

Abstract

Film is a medium that functions as entertainment and an effective means of communication in conveying messages, stories and emotions to the audience. "Two Blue Hearts" by Gina S. Noer is a follow-up film to the story of Bima and Dara, a young couple who married at an early age because of a mistake. After four years apart since the birth of their son, Adam, Dara decided to return to Jakarta to be with Bima and Adam. Conflicts in their household arise again when Dara struggles to get closer to Adam, who does not yet recognize her as a mother. This research aims to determine the application of linear plot in the development of the story in the film "Dua Hati Biru". The theory used is the Linear Plot from Elizabeth Lutter. The results show that the use of a linear plot in Dua Hati Biru allows the audience to see the emotional transitions and dynamics of Bima and Dara's relationship clearly. This approach is effective in depicting character growth through a consistent passage of time, without relying on a back-and-forth plot.
Co-Authors Afandi Maulana Ahmad Umar Dhany Aji Purnomo Amanda Bayu Fadhilah Aryananda Putra Athaya Khairani Ningtyas Darwatan Derajat Desi Ariyani S Dheviyani Dheviyani Dwi Putri Mawar Eka Pebrianto Saputra Fabio Fahrezi Canavaro Febry Ayu Retno Irham Setiawan Jenny Fransiska Jenny Fransiska Br.Batuara Leni Deli Lutfi Zaidi M Hendy Farrell M M. Fajar Aditya M. Fariz Rizantha Muhammad Fauzan Abdillah Muhammad Rafli Sajali Muhsin Lambok Ilvira Nabilla Afiya Rizka Nazarruddin Nazarruddin Nurul A’ini Nurul Khasanah Pratiwi Pratiwi Pratiwi Putri Aulia Putri Nabila Tanjung Putri Ramadhani Qiyaadah Zahra Rizki Rahmadi Ruhi Annyza Khanum Haris Ryan Fadhil Firmansyah Silvia Lestari Suryanto Suryanto Teruna Satria Putra Witri Amanda